Critical Note

A vibrant sensation of vitality, energy and vigor in the most recent paintings by Alex Di Meglio.

Flowers are configured and reconfigured in a patchwork quality, a juxtaposition of design and different colors sewn together to give flow and movement to the canvas, and become a discovery in semi-surrealism.

Gina Affinito, artist and curator for Small is Better

Paintings as you would see in your dreams: fragments of images, spectacular enchantments, realistic and abstract landscapes.
A myriad of emotions meet on the canvas as dictated by the fervid imagination of the artist. Colors and light are fundamental to inspire interest, understanding and serenity.
Alexander Luigi Di Meglio looks inside himself to produce a series of offerings that are born from reality and imagination. Between brush and pencil he expresses his innovative artistic style creating semi-abstract art with color on color, with paint on paint, with a blend of textural materials: abstract expressionism.
His work is reminiscent of the German painters from the middle of the last century as can be seen in the integrity of the picture plane, in the definition of geometric elements in nature and the attention to details of objects and in their interaction.
For many years I have been following the work of Alexander Luigi Di Meglio, and through a careful study of his paintings one can continually observe the intense growth of experience and expression.
I believe that the most relevant aspect of Di Meglio’s art is his inexhaustible, unending research, but the element that is even more important is his capacity to engage the observer, to start a dialogue with him, to start a journey where color is an expression, and the destination is a new and different world born from his paintings. In this world the daily mediocrity does not exist nor does the wretched squalor of preconceptions. It is a world where intense emotions can confuse the soul, but where losing yourself can bring to self-renewal through a miracle that only art can create.

Antonietta Campilongo

Alexander Luigi di Meglio’s most recent works were born from a formal geometrical research of constructivist style, by organizing the large surfaces and by working out a synthesis of natural elements.
In his last two paintings, we find two fundamental aspects: on the one hand, the technique of the landscape Cezanne-style (i.e. Roma appunti di viaggio) in which the definition of an element in a fictitious space is annulled, merged with the contiguous forms, and whose relation lives in a space hypothetically measured by depth; on the other hand the taste of construction, certainly inspired by his Architecture studies, from where a more geometrical, rigorous work comes, made of light levels, across the elements, as in “Svegliarsi al mattino presto in Piazza del Popolo”, in which the light, symbol of a meta-temporal dimension, radiates from the front door, through Alessandro VII Chigi’s escutcheon star, to shine upon the whole painting.
The artist creates atmospheres full of emotions which refer to different cultural models: Impressionism, Constructivism and Cubism.
In this Web-site we present the various moments of his artistic growth, from the still lives, to the naturalistic-psychological event of the geese, to the last geometrical production, a life path, from which we may imagine the future development, the life that still has to come.
All this is part of a continuous research through an artistic time whose values and teachings are transformed and worked out in an original and very personal language.
Assunta Paravati, painter

Alexander Luigi Di Meglio’s landscapes propose large architectural spaces through a dreamt and happy translation of pictorial past models, Cubism and Constructivism. The harmony of soft colours and of the geometrical lines gives depth to the whole work, marking the light and shade levels. In the Di Meglio’s work the cubist aggressiveness is softened whereas his taste towards construction is highlighted.
The immediate sensation of a solar and happy dimension of the Roman squares lasts in an observer’s eye. Thus, in his “Roma appunti di viaggio – frammenti del Foro Romano” of 1998, light seems to filter through the Tiber water to radiate across the temples arcades, to be reflected on the window-panes of the ancient buildings, to play with the shadows on the far-away domes, to be finally captured by the green of its parks. Here the fundamental elements of the scenery are exalted, but not imposed, by remaining elements of a great choral surface, where everything is essential.
The natural optimism of the artist, suppported by his Architecture studies and by his life experiences in USA, where he spent long seasons, makes him able to feel suggestive and personal vision of real or dreamt city environments, that seem to propose a drastic alternative to the melancholy dreams of metaphysics.
Stefano Cosenz, journalist

“Reality as you have never seen it” should be the right title to Alexander Di Meglio’s works. To plunge into the reality of these creations means to abandon the deal of images and shapes which form our daily life, to break our remembrances, to change the things’ point of view, to separate each element of the structure thus making it protagonist of the scene. Fantasy and the utmost imagination acquire vigour in Alexander’s art: The “Historical Rome”, seen from the foreshortening of an imposing statue, looses the ‘network’ of streets going through it, to become a labyrinth of geometries, made with chalks and ink making dynamical the strong architectures of the Eternal City. Alexander paints a Rome that regains its warm colours and its beautiful light fascinating even the most distracted visitor. He changes the optical prospective and the way of living the city, the quarter as a small village, where you can discover a Sunday morning at the Quirinale and an afternoon in Trastevere. To plunge into the dreamed reality of these works means to go back through the XX century discovering how the artist elaborates its language and contents, involving the spectator in a surrealistic and emotional game, and leaving to the ‘reason’ the task to recompose the FRAGMENTS of these new perceptions.
Enrica Fontanini translated by Efy